A graceful evening of classical dance

Our Sacred Space, Secunderabad, presented solo recitals in Kuchipudi and Bharatanatyam recently. The first was by Ruthvika Nalamalapu, student of Guru Dr. Deepika Reddy, Padma Shri and SNA awardee, followed by Sahana Umesh, student of Guru Dr. Rajeswari Sainath, SNA awardee.

The eminence and renown of these well-known Gurus were reflected in their students’ mastery of their art forms, testifying to the rigorous discipline inculcated by their respective institutes, “Deepanjali” and “Sruthi Laya Kendra Natarajaalaya”.

Ruthvika looked grand in her scarlet-gold brocade aharya. She had a commanding stage presence, which is an asset for a solo Kuchipudi dancer.

“Mahadeva Shiva Shambho” in Revathi is an ode to Lord Shiva by Shankara Iyer. The handsome form of Mahadeva is compared to the beauty of a crore of Manmadhas. Ruthvika, moving elegantly in silhouette with crystalline anga shuddhi, appeared fascinating as she described the Lord as the compassionate one who protects not only sages but the entirety of mankind.

As she portrayed the story of Gangavataranam, the sancharis were interpreted as a succession of unfolding vignettes with precise angika abhinaya. King Bhageeratha worships Lord Shiva to control the force of Ganga, whom he has beseeched to descend to Earth. The redemption of his ancestors can only be done with her holy water bathing their ashes, to which they had been reduced by the wrath of the great sage Kapila.

The Lord captures Ganga in his matted locks, subduing her havoc-creating force, and releases her on Bhageeratha’s request.

The javali in Poorvi Kalyani of Pattabhiramaiah was an expressive elegy overflowing with abhinaya. “Nee Matalemayanura” has a khanditha nayika as the heroine. She plays an enraged harridan who pushes out the nayaka, who incurs her displeasure by not fulfilling his false promises of jewellery in profusion!

Ruthvika handled the piece with bravado, playing the irritated nayika to the hilt with skilful elan as the audience applauded. The mudras showing each type of ornament were picturesquely clear in imagery.

The Narayana Teertha tarangam, “Veekshe Kada Deva Devam”, was a melodious masterpiece in Ragamalika. A preliminary filigreed slokam, recited by Rukmini while holding the dark God’s portrait, describes Krishna’s charm. His benign presence is desired in thoughts and words.

Ruthvika, in etched nritta and natya, enunciated Krishna’s qualities—his manifestation as a cowherd, the delicate beauty spot of musk, the peacock-feathered headband, the raasa lila in Brindavan with the gopikas, and the yellow attire like lightning on his dusky, rain-cloud-like body.

Ruthvika created a chiselled tableaux as she represented the dance of Krishna on the hooded head of the serpent Kaliya. Her serpentine movements resembled the snake’s gait. The item concluded with the mandatory execution of an intricate rhythmic sequence of jathis on a brass plate, whose complexity challenged the balancing ability of the dancer. Ruthvika was a pro in bringing out the inspired and exhilarating choreography of her Guru with fidelity in every movement of her performance.

Sahana was elegantly clad in a bronze-hued costume. She opened her Bharatanatyam section with an invocatory Gambhira Nattai Mallari in praise of Lord Ganesha, set in three tempos. Sahana impressed with her flexible, athletic stances.

The central varnam was dedicated to Goddess Kamakshi, the revered embodiment of compassion and divine power. “Kamakshi Thaye” in Valaji is by Radhakrishnan.

Sahana was scintillating in invoking the manifestations of the divine Mother, whether as Abhirami, who saved the honour of her devotee who mistakenly identified a new Moon day, or Kaali, the fierce destroyer of evil.

Goddess Abhirami tosses her earring into the sky, substituting its brilliance for a full Moon. Thus, the sky was illumined to the enquiring King’s satisfaction. Divine intervention saves the day.

Kaali wreaks havoc on the unjust as she punishes demons and restores balance to the cosmos. The adavus flowed smoothly into one another, and the jathis of great rigour invoked applause as Sahana was impeccable in her nritta.

Thus, both the benevolent as well as terrifying aspects of Devi were presented in contrasting tones, with every fine detail of abhinaya on display.

The abhang, “Brindavani Venu” of Bhanudasa in Bhimpalaas, celebrates the entrancing melody of Lord Krishna’s flute. His divinely musical instrument has a captivating effect on devotees, nature and all of creation.

The sound is hypnotising and compelling, a heavenly rhapsody which everyone longs to hear forever. The bewitched denizens of the forest glades stop in mid-movement as they are compelled by the soothing allure wafting through the air.

Sahana wove a seamless blend of dancing steps of lyrical quality into a fusion of nritta and abhinaya as she glided lightly across the stage.

The finale was a thillana in Sindhubhairavi dedicated to Lord Murugan. It was a crisp composition of Lalgudi Jayaraman, executed with vigour. The nritta, which was the substance of the piece with few lyrics, gave scope for intricately complex footwork rendered surpassingly by Sahana.

The recorded music used for the programme was of high quality. Guests Dr. Chakravarthy, IAS, President, SICA, and Dr. Gajarao Bhupal, IPS, IG Telangana, graced the occasion.

ABOUT THE AUTHOR

Anna Rao Gangavalli

Anna Rao Gangavalli[email protected]